Today we presented to Katye and Andrea, as well as the class, what we had all choreographed so far for our duets, and what we have learnt so far in our performance duets.
As mine and Deborah's choreography isn't pieced together yet and is simply in separate sections, we decided to show it in the separate sections. We told the audience that the dance idea was based around your interpretation of a given impossible task, of which there are several throughout the performance. The dancers then performed and we awaited feedback.
Feedback included:
- Watch some of Jerome Bel's work as he may be useful ... I researched Jerome Bel for the previous lesson which was 'placing practice in context' and found the work I had watched very interesting. Therefore I am going to continue with my research and see if I can get any inspiration or ideas for my choreography.
-Giving people the definition of 'impossible' before the performance would be a good idea. We gave the quote we had after the performance and we were told it'd be good to put in the programme so the audience knows this before they see the piece. So that's what me and Deborah have now decided to do.
"Impossible isn't something that cant be done, its just something that hasn't been done before."
-Some of the audience wanted to know what the impossible tasks were that Gabby and Lewis were interpreting. However, I said I didn't want to reveal the tasks to the audience as it defeats the object of personal interpretation. We found that as we gave the dancers the tasks to make movement from, that we ourselves would have carried them out in completely different ways and different approaches, which we found very interesting and intriguing; why then would we stop this imagination that the audience can latch onto if we reveal the true nature of the tasks?
Katye said: "I don'/t know what it is and I don't want to know." This I really agree with, as for example: Gabby made an interpretation of the task: 'raining pillows', but her movement could suggest 'an explosion of teddy bears' to a member of the audience, and therefore the creativity continues.
-Find a relationship between the two people. Both I and
Deborah established our fortune at the very start of the duet assignment, as we
were the only choreographers to be given a male/female partnership. Watching
Katye and Charlie in their performance triggered an idea that was re-enforced
by ‘The Suchness of Heni and Eddie’ by Rosemary Lee: Could we create a piece
for a male and female without an audience assuming a stereotypical love-based
relationship between them? When watching Katye’s and Charlie’s performance I
remember my focus being upon the puzzle I thought they were solving. My focus
was also upon the trust and partnership they had, and therefore their
relationship, but no stereotypical assumptions were made. This was a similar outcome
for me when watching Rosemary Lee’s work; therefore I and Deborah shared this
interest and too wanted to experiment with movement ideas that could disperse
of stereotypical assumptions. However, our feedback from today’s session suggests
that we took this too far so that no relationship was established, which isn't
what we wanted. Therefore we are going to work on this development of a
relationship being present between Gabby and Lewis, but without an automatic
assumption that it must be, for example, love-based.
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